Halfway There: A Behind-the-Scenes Look at Our Comic Project
the walk toward the barn
was a very challenging and fascinating panel to create. Growing up in Ohio around cornfields really helped form this image. I used a lot of personal photo references from that time long ago trying to encapsolate that feeling of smallness and mystery that I felt as a child walk through the what I felt were the tallest cornstalks in the world.
A Dream Unearthed
There's an electrifying rush when a long-held dream claws its way to the surface—a dream that's been smoldering quietly, waiting for its moment to ignite. This comic project is that ignition for me: the culmination of years steeped in passion, grit, and the audacity to finally leap into the abyss. All I've ever wanted was to be an illustrator, an author weaving worlds from ink and imagination. Yet, like many of us, life's labyrinthine paths often led me astray, pulling me away from the muse I should have been chasing all along. But there comes a time when you have to silence the whispers of self-doubt—to hell with the naysayers and the shadows they rode in on—and embrace the fire within.
The Alchemy of Collaboration
But this journey isn't mine alone. It's a collision of minds with Michael Barron, a writer whose storytelling acts as the catalyst, propelling me deeper into the boundless realms of my creativity. His narratives challenge me to look deeper than I ever have before, pushing me to stretch my imagination and tap into emotions I didn't know I could portray.
Every script, every scene, is an invitation to delve into his world and make it my own—a shared vision where his words and my art meet in perfect synchronicity. Together, we hope to create something that’s more than just a comic: it’s a journey, a visceral experience that leaps off the page with every stroke of the pen.
A few months ago, I introduced you to the incredible Mr. Barron, in several different blogs post earlier. If you missed that post, check it out here. And if you want a peek into the early days of this collaboration, you can read about it here.
Now, as we’ve reached the halfway point of the comic, I wanted to pull back the curtain and give you a glimpse into the progress we’ve made, the challenges we’ve faced, and the joy of creating something truly unique.
The story follows Ashley and Jordie, two seasoned hunters whose moral compass is constantly tested as they face not only the demons they hunt but the ones that haunt their own past. With each exorcism and encounter, questions arise: What makes a monster? Is it the entity they banish or the humans who invite darkness into their lives? And most importantly, how far would you go to protect the ones you love, even if it means bending the very rules you swore to follow?
This comic is not just an exploration of good versus evil but a meditation on the gray areas in between, brought to life through gripping dialogue, raw emotion, and artwork that feels alive on the page. It’s a story that demands you lean in closer to uncover its secrets, while its characters remind you of the fragility and resilience of the human spirit.
one of my favorite characters to work on was Duke.
Behind the Curtain:
Every story worth telling begins with a spark—a quiet, unassuming moment that sets the world ablaze. What drives a mind like Michaels? How does one summon such vivid characters and unflinching narratives from the ether? And more importantly, what keeps the fire alive when the creative road gets rough?
So grab your coffee, dim the lights, and settle in. This isn’t just an interview—it’s a deep dive into the alchemy of creation, collaboration, and everything in between.
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In this candid Q&A, Michael lets us step into his world. From the origins of his craft to the moral dilemmas that bleed through the pages of The Secret Lives of Demon Hunters, he shares the stories behind the story. This is a rare glimpse into the head and heart of a writer whose work challenges, excites, and lingers long after the last word is read.
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1. Every storyteller has an origin story. What pulled you into writing? Was there a defining moment when you realized, “This is it—this is my calling”?
“Honestly, I’ve been telling stories ever since I learned how to talk. Some of my earliest memories involve yammering half-baked story plots (mostly based on 90’s cartoons) at my parents in the car. *Fingers Crossed* My stories have gotten better since then. “
2. Crafting worlds and characters takes fuel. What feeds your imagination? Are there books, movies, or even personal experiences that shape your storytelling style?
“If we want to stick with childhood memories the first book that jumped out at me where I said YES that’s the sort of thing I want to write was The Devil’s Doorbell by Anthony Horowitz (Who decades later would write the Alex Rider series). I just happened to find it in the children’s section of my library. Most of the books that I had read up until then were very sanitary but (for a fifth-grader) The Devil’s Doorbell was dark, violent, and a little dangerous. It was supposed to be the start of a five-book series. I read the second one but I don’t know if books 3-5 were even written. They were later “rebooted” as the “Power of Five” series, but I never read those. I want to keep how amazing that original feeling was in my mind rather than revisit it as an adult.
Since then I’ve come across A LOT of works that have hit me in similar ways. There’s been Jonathan Strange & Mr. Norrell by Susanna Clarke (the most imaginative novel I’ve ever read), Saga by Brian K Vaughan (the most imaginative comic book series I’ve ever read) Bone by Jeff Smith, Breakfast of Champions by Kurt Vonnegut, Gideon the Ninth by Tamsyn Muir, a whole bunch of stuff by James Tynion IV, Joe Hill and T Kingfisher and of course Calvin and Hobbes by Bill Waterson.”
3. Writing is often a solitary grind—a battle of persistence against the blank page. How do you keep the fire alive during the tough moments, especially on projects as intense as The Secret Lives of Demon Hunters?
“Okay, so this may sound kind of lame, but I swear it works.
When I feel like I’ve hit a wall, I do two things. 1) I try to acknowledge that things just aren’t working, that what I’m writing is more like really bad fan fiction of my own work than the actual story. Then I 2) Just walk away. I perform a mindless task like going for a walk or doing the dishes. I just step back and let my mind focus on other things and very often (sometimes within minutes) I feel fresher. “
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4. What sparked the idea for The Secret Lives of Demon Hunters? Did it start as a flash of inspiration, or was it something that simmered over time?
“The Secret Lives of Demon Hunters was originally going to just be an eight (or so) page story in a thirty-page anthology of interconnected stories. Think Pulp Fiction but with supernaturally themed comics. I was told by someone who has been in the comic business for quite a while that this story was by far the most interesting and I should focus on it and flesh it out into a single 24-page issue.
The story itself comes from my love of combining the mundane with the fantastical. In this case, what if there were demon hunters who were also a married couple, having to face the demons of their relationship as they face an actual supernatural spirit. “
5. Ashley and Jordie aren’t just characters—they feel lived-in, real. How did you go about crafting their personalities, their flaws, and the complex bond they share?
“This sort of goes back to my previous answer. I think one key to making complex, lived in characters is to find juxtapositions in their personalities, things you wouldn’t think would fit but absolutely do. Of course it would be predictable if throughout all 24 pages my characters were a pair of badass demon hunters, but when other people/entities aren’t around they become who they are at home, two people who love each other dearly but also have trouble communicating. The supernatural and domestic story elements don’t seem like they would work but (I hope) they do fit to create something that is memorable.”
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I7. Collaboration can be unpredictable. What’s been the most surprising or rewarding part of working with an illustrator on this project?
“Every once in a while you send me panels where I feel like you’ve reached into my head and put exactly what I was imagining on page. The character design for Carol is one example.
What I love even more is when you take what I’ve described and done something even better with it. One example of this is a panel where our two demon hunters are walking along a cornfield. I just pictured them walking and chatting about their issues but you presented them at an angle where the corn looks like it’s rising up to swallow them whole. This gives a sense of anticipation I wasn’t picturing when I wrote that scene and makes the moment even better. “
8. Has a scene or character ever changed in a way you didn’t expect because of the visuals? How do you navigate that push-and-pull between words and art?
“In a way I feel like all the scenes and characters have changed at least a little. The illustrator brings their own elements to the story, and that should be expected. However, I’ve never really wanted to go back to change the story once I see the illustrations. So far it’s been best to just let the illustrator do their own work and let the comic come to life. This can be intimidating but it’s better to let an artist be an artist rather than forcing them to fit your vision. “
9. How has this partnership shaped the way you approach storytelling? Have you discovered anything new about your writing through this process?
“I’m new to comics. Up until this point, all I’d ever written was prose. I was used to being 100% in control. With a novel, if I’m writing a scene set in an abandoned city (which I’m literally doing today) it’s completely up to me to make the city feel otherworldly and spooky. But with comics, you are (rightfully) expected to give up a great deal of that control. You’d think that would be uncomfortable but in some ways, it’s freeing in that you’re not at it alone. I feel like the next comic I write will probably have shorter panel descriptions. I’ll try to get my vision across while also trusting in the illustrator.”
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10. If someone wanted to break into comics or storytelling, what advice would you give them? What do you wish you’d known when you started?
“Wow, I don’t know if I’ve been writing comics long enough to give other people advice.
But I have been writing stories for quite a while so I’ll give general story telling advice: Characters are the most important part of your story.
I once read an article (no idea where it was, otherwise I’d link it here) that the characters in Ghostbusters were so funny and charming that the movie would have been a classic even if it had been about a bunch of guys opening a paint store.
My advice for storytellers is to go for that. Even if you’re writing the most epic, sweeping, imaginative space opera ever written, make sure your characters are so interesting, filled with so much unexpected juxtaposition and so engaging that people will be hooked even if it was a story about them hanging out at the beach. “
11. Writing comes with its fair share of traps. What’s a common mistake you see new writers make, and how would you help them avoid it?
“So this bit of advice actually is specifically comic-related: When your illustrator sends you illustrations, take a deep breath and step back. Wait to give notes. And when you do give notes, ask yourself (as objectively as possible) if you are asking for these changes because it will make this a better comic or because they didn’t put your exact vision on paper. Let the illustrator express themselves and be artists, and keep in mind that in many cases they’ve spent more time on these panels than you have.”
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12. Your work has this raw emotional undercurrent—it’s intense, but it never feels forced. How do you approach writing those darker, unfiltered moments while keeping them authentic?
“I’ve heard from literary agents and other people in various storytelling industries that when writers are first starting out they tend to pull themselves back. New writers are often afraid that what they are writing will come off as melodramatic. I’ve heard that the real problem is that they don’t make the stories intense or dramatic enough.
Keep in mind, that making your story more dramatic doesn’t involve upgrading the bomb so it destroys the whole planet. It means upgrading your story so the villain is a family member. Always ask yourself, “How can I make this more dramatic?” If it becomes too dramatic people will warn you.
This even goes for authors of “lighter” genres like romance or comedy. Don’t have the boyfriend uncover our heroine’s secret because she accidentally leaves her phone lying out. Have her best friend tell him the secret out of spite.”
13. The story delves into questions of morality, humanity, and redemption. Are these themes that mirror your own worldview? Or are they questions you find yourself wrestling with as you write?
“These are absolutely questions I find myself wrestling with in my own life. While evil certainly exists in the stories I write, I try to have the source of evil be in the actions characters take rather than the characters themselves. I try to avoid characters who are thoroughly 100% evil and have the evil come more from the choices they make. – This can make things interesting when one of your characters is a demon. “
14. Beyond the entertainment value, what do you hope readers walk away with after experiencing The Secret Lives of Demon Hunters?“I am hoping that they can come away with a sense that things can get better despite how dark things may get.”
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15. Where do you see The Secret Lives of Demon Hunters heading in the future? Are there spin-offs or deeper stories in this universe you’d like to explore?
“If I were to continue this story, I would like to follow the surviving characters and maybe tell a non-linear story that jumps between what happens after this chapter and how the couple first started their demon-hunting business in college.”
16. Are there other genres or mediums you dream of tackling as a writer?“I am currently editing a novel I hope to get published in the (relatively) near future. While it’s more fantasy-based than Demon Hunters, it is still very similar in that it balances the speculative genre with grounded characters in grounded settings. “
17. At this point in your career, what excites you the most about what’s ahead?
“Just continuing to flesh out the stories I’ve already written while pushing my imagination to come up with new ideas. “
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18. If you had to describe this collaboration in just three words, what would they be?
“Can I just use one word?: “Communication”
I hope you agree that we’ve been communicating very well throughout this project. The work you’re giving me is outstanding and when I do give you feedback you’re always very receptive. This has been an ideal partnership and I think that’s in large part due to the tremendous amount of communication we’ve had with one another. “
19. What’s been your favorite scene or moment in this project so far, and what made it stand out for you?
“One moment that really stands out to me is when you first started sending me character designs. I’ve probably created well over a hundred characters since I was a kid but this was the first time any were actually illustrated. While the designs have changed somewhat since then, that moment of opening the file and seeing the characters for the first time has stuck with me.”
20. If you could pull one fantastical element from the Demon Hunters universe into our world, what would it be—and why?
”Wow, I’d be kind of terrified to pull anything from this universe into our world.While I could see some definite drawbacks to this, it could be helpful if people could enter each other’s minds, see things from each other’s point of view and live through their memories. That might solve a lot of problems. “
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1. What’s a story or concept you’ve always wanted to write but haven’t had the chance to explore yet? What draws you to it?
One story I would love to write but don’t know if I ever will is a neo-noir about librarians. I’m a librarian and while it’s not a terribly cut throat line of work I’d love to do a tongue-in-cheek story where the various branches of a library system are essentially different gangs (or houses in Game of Thrones). Things start off fairly straight forward, down to earth, with some mild competition, but over the course of the story they start to escalate until the librarians find themselves burying literal bodies.
No idea if I’ll ever write this, I have a lot of other things on my plate, it’s just been clanging around inside my head.
2. How do you define success as a writer? Is it the act of creating itself, the audience’s response, or something else entirely?
This is extremely tricky, because, as in life, the goalpost for success in writing keeps shifting. First success is writing a full rough draft, then it’s revising it, then it’s having a solid/readable draft, then it’s getting readers to actually read that readable draft, then it’s getting more readers.
While I think people should strive to reach higher goals throughout their lives (within reason), I think it’s still important to look at the last goal you achieved and find happiness in that success.
But that’s not really answering your question. If I had to pinpoint the exact goalpost that defines success for a writer it would be the point where you have created something and are sharing it with other people, even if the size of the audience isn’t that big. After that point we can certainly strive for more readers, but throughout the process we should look for happiness in the successes we have already had.
Do you find inspiration from real-life conversations or something else?
I tend to write long and edit short. In rough drafts, my characters can be very long-winded. Then I go back, and trim the fat.
That being said, I try not to trim too much. A writing instructor once told me that in every scene your characters should talk about at least one thing that isn’t directly related to the plot. I think this is what makes the characters feel more natural and makes the world feel more lived in.
Also, have your characters avoid what’s really on their minds. Don’t have them just come out and say what they’re thinking about. For example in our comic, the married couple talk about beer, and careers and exorcisms and everything else before finally, at the end, talking about what they really need to say.
4. Do you have any quirky habits or rituals when you write? A lucky pen, a specific playlist, or even a snack that fuels your creativity?
I listen to a lot of lofi hip hop while writing as well as ADHD relief music. Here is a link to my favorite one on YouTube. I write best in the morning, usually before the sun is up. Most of my writing takes place on our ugly yellow couch with my oversized orange cat snoring next to me.
This makes my writing process sound a hell of a lot more wholesome than the content of my writing.
I really like getting exercise, like an early morning run or walk in the cold before writing (yeah yeah, I know, weird) but I don’t always have time for this.
Michael’s answers offer us more than just insight—they’re a look into the art of storytelling, perseverance, and collaboration. Through his words, we see the layers of thought, emotion, and imagination that go into crafting a world as rich and complex as The Secret Lives of Demon Hunters.
What stands out most is his humility and openness—a reminder that even the most fantastical tales are rooted in deeply human experiences. From learning to trust an illustrator’s interpretation to wrestling with universal moral questions, Michael’s journey reflects the highs and challenges of creation, leaving us inspired to embrace our own paths.
As this project continues to evolve, so too does the partnership behind it. It’s a testament to the power of communication, mutual respect, and shared passion. Michael’s answers remind us that stories, at their heart, are a collaboration—not just between writers and artists, but between creators and their readers.
A Heartfelt Thanks
Thank you, Michael, for indulging me and answering these questions with such enthusiasm and honesty. Your willingness to share not just your process, but your insights into the heart of The Secret Lives of Demon Hunters, has been invaluable. It's been an absolute pleasure getting to know the mind behind the story and the passion that drives it. I’m excited for the journey ahead, and I’m beyond grateful for your partnership on this project!
Unveiling the First Page: The Genesis of The Secret Lives of Demon Hunters
Every great story begins with a single, evocative scene—a moment that draws you in and refuses to let go. For The Secret Lives of Demon Hunters, that moment is here, captured in the opening page of Michael Barron’s script. This page not only sets the tone for the story but also serves as the heartbeat of the world we’re creating.
Here’s your exclusive look at how it all begins:
Page one: The Secret lives of Demon Hunters
PAGE ONE Of the Demon Hunter Script
PAGE ONE Of the Demon Hunter Script – FIVE PANELS
PANEL ONE
A cartoon zombie Halloween decoration taped in a storefront window. A word bubble coming from the zombie’s mouth says, “BRAINS!” On either side of the decoration are the edges of missing persons posters.
NO COPY
PANEL TWO
ASHLEY – a petite twelve-year-old girl -- walks by the storefront window carrying an armful of paper bags filled with groceries. She wears denim overalls. Her short brown hair is uneven, as if whoever cut it last had no idea what they were doing.
We now see that there are several missing persons posters taped to the storefront window.
NO COPY
PANEL THREE
Ashley carries the groceries up the front walkway of a small Cape Cod style house. All the blinds are down. It’s a perfect, sunny Autumn day.
Two little girls dressed as witches chase a boy dressed as a wizard up the sidewalk. All three are laughing.
GIRL (Big): We’re gonna get you!
PANEL FOUR
Ashley stands on the stoop of the house’s side door tying a bandanna over her mouth and nose. The groceries sit on the stoop at her feet.
GIRL (OP-Big): Turn you into a toad!
PANEL FIVE
We are now inside the house’s kitchen. Ashley pushes through the door struggling to carry all the groceries. Despite the bright day outside, the house’s interior is gloomy.
MAMA (OP): Ashley?
Bridging the Realms of Words and Art
As Michael’s script draws you into the shadowed corners of The Secret Lives of Demon Hunters, my role as the illustrator is to take these moments and breathe visual life into them. It’s a delicate balance: honoring the depth and intent of his storytelling while infusing it with my own artistic interpretation.
The opening page exemplifies the quiet tension and emotional undertones that permeate the story. Translating these elements from words to images has been a journey of exploration—not just of the characters and their world, but of my own creative limits. How do you make a grocery run feel heavy with unspoken emotion? How do you capture the brightness of an autumn day while hinting at the darkness creeping beneath it?
These are the challenges that fuel my passion for illustration. Michael’s script doesn’t just provide a blueprint—it’s an invitation to delve deeper, to find the heartbeat of the story in every panel, every shadow, every glance. It’s a collaborative dance, one where words and visuals merge to create something neither of us could accomplish alone.
My Journey Behind the Pen
Taking on this project has been more than just a professional endeavor—it’s been a deeply personal one. As I translate these scenes into art, I find myself reflecting on my own journey as a creator. Like Ashley in the opening panels, I’ve felt the weight of carrying my dreams, uncertain of where they might lead. But with each stroke of the pen, I’ve discovered not just the story on the page, but a part of myself.
There’s a certain vulnerability in illustration. You’re not just drawing a scene; you’re exposing your interpretation of it. The process demands courage, honesty, and a willingness to step into the unknown—qualities I’ve had to cultivate with every new page.
Facing the Blank Page: An Illustrator's Perspective
When I first received the script for The Secret Lives of Demon Hunters, I wasn’t sure what to expect. This wasn’t just another passion project I was creating for myself—it was my first time stepping into the role of a professional illustrator for someone else’s vision. The pressure was immediate and intense, a kind I had never felt before. As I opened the script, it felt like opening Pandora's box: there was so much to discover, but also so much unknown.
The first thing that struck me about Michael’s script was its balance of structure and freedom. The meat and potatoes of the story were there—the beats, the tone, the characters—but the script left a surprising amount of the finer details open to interpretation. For an artist like me, someone who thrives on control and specificity, it was both a challenge and an opportunity. I found myself both intrigued and overwhelmed by the trust Michael placed in me to fill in the blanks.
I had to make choices—choices that I knew he must have envisioned in some way but didn’t explicitly spell out. As an overthinker, the possibilities seemed endless, and at times, a bit daunting. But instead of letting that overwhelm me, I embraced it. I approached each scene like a director setting up a shot for a film, layering in the atmosphere, the emotion, and the small, telling details that would breathe life into his words.
Looking back, I’m grateful for the freedom Michael gave me in the script. It allowed me to bring my perspective to the story without feeling micromanaged. There was no Kubrick-esque obsessiveness, no rigidity. It was freeing. I could focus on creating something that felt authentic to both of us, without the weight of over-precision stifling the process.
But it wasn’t easy. I had to put my ego aside. This wasn’t about me or my art. It was about the story—the bigger picture. It was about creating something we could both be proud of, something worth sharing with the world. The pressure was real, but it left no room for self-doubt or indulgence. I had to trust my skills, trust the process, and trust that I could meet the standard of professionalism this project demanded.
Setting up a workday and sticking to a schedule became crucial. I treated this project not just as an artistic endeavor but as a professional commitment. I wanted my first impression in this industry to reflect my seriousness, my dedication, and my respect for the craft. Every line I drew, every panel I composed, was an act of learning, growth, and collaboration.
As I continue working on this comic, I carry these lessons with me. The first page of the script was not just an introduction to Ashley’s and Jordie’s world—it was an initiation into a deeper understanding of what it means to tell a story visually, and how to let go of perfectionism in service of the narrative.
A Day in the Life of an Illustrator
Behind every illustration lies not just talent but structure—a daily rhythm that transforms fleeting inspiration into tangible creation. For me, that rhythm begins at 9 a.m., when I step into my office and immerse myself in the world of The Secret Lives of Demon Hunters.
This structured schedule allows me to dive headfirst into the creative process, balancing hours of drawing with ongoing learning. The art world never stands still, and staying attuned to industry trends is crucial. I often find myself watching YouTube videos or reading articles about emerging techniques and shifts in the comics industry. It’s a way to hone my craft and stay sharp, ensuring that my work not only resonates today but also evolves with the future of the medium.
But this schedule does more than just keep me productive—it gives me permission to show up for myself. By sticking to this structure, I create space for life’s other demands without guilt. Whether it’s attending to my homesteading chores, caring for my family and dogs, or tackling tasks that require my attention, I know my workday has been honored.
More importantly, this routine safeguards my mental health. Creative work can sometimes feel overwhelming, especially during periods of self-doubt or emotional lows. But having this foundation means I can pause when I need to and address those moments without feeling like I’m falling behind. It’s a practice of self-compassion—an acknowledgment that showing up every day doesn’t have to mean perfection; it means consistency, balance, and care.
When it comes to the pace of my work, I’ll admit I often wonder if I’m on the slow side. In truth, I probably am, but I’ve made peace with that. I would much rather lean into thoroughness and intentionality than rush for the sake of speed. The perfectionist in me needs to take time to marinate in the project, to truly live in each scene, and get it right the first time. I know that quick turnarounds are often prized in the industry, but I believe that falling on the side of slow and deliberate is far better than risking a reputation for being fast and sloppy.
This project feels like a dream come true—one where I can take the time to do the work justice while learning what I need to eventually accelerate my speed. Right now, I’m soaking in every moment, living the dream I’ve long chased, and building the foundation for whatever comes next.
If you haven’t already, I encourage you to check out Michael’s work and follow him on social media for updates on his latest projects. Whether you're a fan of horror, fantasy, or just great storytelling, Michael Barron is a writer you’ll want to keep an eye on.
Visit Michael Barron’s website: michaeljbarron.com
Follow him on Instagram: @michael.barron.author
Hi! Thank you for stopping by! I hope that you enjoyed your stay.
April Martin is a writer, illustrator, and USAF veteran with a bachelor's degree in photography. Specializing in cerebral, emotionally charged storytelling, her work delves into the complex realms of mental health—including schizophrenia, bipolar disorder, and severe personality disorders—bringing a raw, unfiltered perspective to the human experience. With a background spanning from military service as a B1-Bomber crew chief to working closely with the neurally diverse community, April brings a unique depth to her narratives. Her current graphic novel project, The Chaos of Lucifer, is a testament to her commitment to creating gritty, resonant stories that explore the fragility and resilience of the human spirit.
Instagram: @purpleinkwellstudios
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Website: www.purpleinkwellstudios.com
